Laura Hughes (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
lauraredcloud) wrote2009-11-17 12:14 pm
lauraredcloud) wrote2009-11-17 12:14 pm
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Crime and Punishment 3.5-3.6: In the Zone
3.5
This is one of my favorite chapters, so I'll relate it in pretty close detail.
Raskolnikov continues laughing and joking at Razumihin's expense as he walks into Porfiry's study. Razumihin bumbles bearishly and upsets a teacup. As desired, Porfiry seems charmed by their innocent, youthful exuberance. Raskolnikov will quickly lose this elaborately-constructed upper hand.
First off, Raskolnikov is confused and annoyed at the unexpected presence of Zametov, the polceman who he mouthed off so indiscriminately to last night. He's convinced Porfiry and Zametov were talking about him. Also, Porfiry has white eyelashes, which Dostoevsky, for one, seems to find very unnerving. At Razumihin's embarrassingly supportive urging, Raskolnikov explains his feigned position: that he had some objects of sentimental value with the pawnbroker, and he'd like to claim them, but he hasn't got the money right now. Raskolnikov rather effectively plays up the worried-about-money, confused-member-of-the-public angle; when Porfiry instructs him to write a letter to the police stating his position, Raskolnikov interrupts, "On an ordinary sheet of paper?" "Oh, most ordinary," says Porfiry, and winks. "He knows!" Raskolnikov immediately thinks. Raskolnikov, you are not good at this.
Raskolnikov's cool, such as he had any, only diminishes further. He sends Razimihin what is undoubtedly a very obvious black look when Razumihin recalls that Raskolnikov was so upset at the news of the pawnbroker's murder. Recovering a little, Raskolnikov spins off a speech about how worried his mother would be if she knew he'd lost his father's things, ending with, "You know what women are!" and thinking to himself, "Did I overdo it? Why did I say that about women?" It's both agonizing and entertaining that he overthinks so much. Raskolnikov, you are no good at this.
Porfiry assures him his things would not have been lost; in fact, Raskolnikov's visit has been expected for some time. The pawnbroker wrote down the name and date of all her pledges, and Raskolnikov is the only one who hasn't yet claimed his. Raskolnikov rightly feels like an idiot for not having thought of this, and he babbles a little. Razumihin jumps in, explaining how Raskolnikov was so sick, and that's why he couldn't come. Raskolnikov gets a little unreasonably angry at hearing his illness described; he's defiant when he announces he walked out because he was so sick of being coddled. His irritation seems real, but I'm not sure if letting it show is calculated or not. It seems fairly effective, as it's in even hypothetical non-criminal Raskolnikov's character to be annoyed at having Razumihin broadcast his private business.
Raskolnikov points out that he spoke with Zametov last night during the period in question, and he asks, "Mr. Zametov, was I sensible or delirious yesterday? Settle our dispute." Again, it's not specifically explained whether this is a calculated move on Raskolnikov's part, but it's a reasonable one, actually; there's subtle social pressure to side with Razumihin, and worst case scenario, Raskolnikov will know what Zametov thinks. Zametov thinks a moment and then says, "In my opinion you spoke sensibly and even artfully, but you were extremely irritable." So... worst-case scenario, then. Porfiry adds that he heard Raskolnikov was hanging out with the family of the guy who was run over, and Razumihin adds that Raskolnikov must have been mad then to give away so much money. Raskolnikov says "Maybe I found a treasure and you know nothing about it!" UGH RASKOLNIKOV YOU ARE NOT GOOD AT THIS.
Raskolnikov asks if they are boring Porfiry, and he says "If only you knew how you interest me" (eep) and goes for some tea. Drink! Tea! Raskolnikov has a full page of neurotic silent freaking out. When Porfiry returns, he compliments Razumihin on his party, and Razumihin explains to Raskolnikov that everyone got into a big argument about whether or not there is such a thing as crime. Oh, yay! Theory! (I'm not being sarcastic!)
Razumihin tells Raskolnikov he wishes he'd had him there to help defend his position. He was disagreeing with the socialist view that there is no cause to crime other than a "protest against the abnormality of the social organization." Porfiry laughs that he is oversimplifying. Razumihin insists that he's got it right, he's seen their pamphlets, and gives a stirring page-long speech insisting that the mathematical ideal of the socialist order is unrealistic and fails to account for the complexity of nature and the human animal. It's all full of words like "life" and "soul" in italics. It's pretty great.
Porfiry laughs at him and asks Raskolnikov, "Can you imagine six people holding forth like that last night, in one room, with punch as a preliminary?" Razumihin tries to argue a little more, getting annoyed when Porfiry deflects his earnestness. He tells Raskolnikov that Porfiry likes to take a side he doesn't believe just for the hell of it, and argues so well that everyone believes him.
Porfiry says all this reminds him of an article he read of Raskolnikov's called "On Crime." RASKOLNIKOV, WHAT THE HELL? YOU DID NOT TELL ME YOU HAD WRITTEN AN ARTICLE CALLED "ON CRIME." YOU ASS. YOU ARE TERRIBLE AT THIS.
In Raskolnikov's defense, the article was only signed with an initial (Porfiry learned the real author from the editor, a friend of his), and he hadn't even realized the article had been published, especially not so recently. He submitted it to a journal that had since closed down, but it was bought out and the new publisher printed the article just two months ago. Porfiry finds it amusing that Raskolnikov didn't even know about this. "Bravo, Rodya!" said Razumihin. He promises to run out and find the article and read it right away. What a nice friend.
So what was in the article? "I analyzed, if I remember, the psychology of the criminal before and after the crime." "Yes, and you maintained that the perpetration of a crime is always accompanied by illness." Well, that's just fabulous. That was great of you, Raskolnikov. Way to make a discovery about the nature of crime that is untrue and yet still incriminates you. Porfiry adds that there is a suggestion, not very developed, but just sort of thrown in at the end of the article, that certain people, by virtue of being extraordinary, have the right to commit crimes. Razumihin is alarmed and thinks that can't be right. Raskolnikov smiles, and although he can clearly see the trap, he decides to take the bait and explain his idea, I guess because he figures it will look more suspicious to deny it, and probably because he legitimately enjoys discussing the topic with someone who cares. Even if it is a police-inspector trying to trap him.
So, Raskolnikov's theory is basically that extraordinary individuals can commit crimes if the success of their great benefit to humanity requires it. People who bring new legal systems and governments, for example, are always by definition criminals, at least under the old system. Great generals and dictators are always murderers, within the bounds of war. A great scientist could morally dispense with the lives of his test subjects if it was necessary to advance human knowledge. That kind of thing.
Porfiry listens attentively and questions him rather playfully. He wonders, isn't there a danger of ordinary people mistaking themselves for extraordinary? Maybe the extraordinary people could wear a special uniform or something. Raskolnikov answers with just as friendly a tone, congratulating for his witty remarks, and explains that ordinary people who attempt to commit crimes would of course (being ordinary) be caught and dealt with in the normal way, through the criminal justice system. I guess by definition extraordinary people are successful.
Razumihin thinks they must both be joking. "There must be some mistake. You can't think that. I shall read it." Raskolnikov reminds him that all that isn't really spelled out in the article. Razumihin thinks even geniuses should suffer, at least from conscience, for the blood they've shed. Raskolnikov agrees that they probably do. "The really great men must. I think, have great sadness on earth." Significant pause.
Porfiry has just one last question. Didn't Raskolnikov, at least a little bit, imagine himself a genius while he was writing the article? Could he, just to pull an example out of a hat, oh, say, maybe, rob and murder? "If I did, I certainly shouldn't tell you," says Raskolnikov. Oh you cheeky thing. Probably a good answer though. Raskolnikov and Razumihin turn to leave.
Just, just ONE last thing. Porfiry = Columbo. Porfiry asks Raskolnikov to come by the station to talk about the pledges the next day at 11. Oh, and did he see any workmen when he was in the pawnbroker's house? Raskolnikov pretends to search his memory and says that he saw people moving sofas. No painters? Razumihin reminds Porfiry that the painters were there the day of the murder, and Raskolnikov made his pledges several days before. Porfiry apologizes for his mistake. "You should be more careful," says Razumihin, angry. I want to hug him all the time.
See, wasn't that chapter good? In my opinion, this is exactly what we paid our admission for, in this book: nerve-wracking crime-hiding suspense; lengthy theoretical discussions of the nature of crime; a murderer alternately ingeniously covering his tracks, internally freaking out, and practically begging to be caught; a fantastically relaxed chief-inspector toying with him so effectively that even the reader isn't sure if he actually knows anything; a loving and mostly-unsuspecting friend who disapproves of all this (please let it be) abstract talk. What a great book.
3.6
Raskolnikov and Razumihin head out to meet back up with Raskolnikov's family.
Raskolnikov and Razumihin discuss what Raskolnikov would and would not have said if he had vs had not been the murderer. Razumihin clearly hasn't thought through any of it and Raskolnikov clearly has, but then, he's the big expert on crime. Raskolnikov freaks out for no reason as they get close to the house, and insists on going off on his own for a quick errand while Razumihin gives his excuses to the fam. Razumihin tries to go with him, with Raskolnikov gets all despairing and sick-irrational, and Razumihin leaves him alone. Oh Raskolnikov, don't start acting suspicious NOW, after that conversation. What can you possibly have to do that's so important?
He runs home and double-checks the hole in the wall where he originally hid the money, just to make sure he didn't leave anything behind. THAT was what you had to do? But he knows they've had time to search it, so even if he did leave something behind, it's gone now. Also, he DIDN'T. THAT IS NOT THE MISTAKE YOU WILL MAKE. THIS KIND OF THING IS.
As he's walking out, the porter points him out to a short, middle-aged MYSTERIOUS STRANGER. The MYSTERIOUS STRANGER walks off, and Raskolnikov asks what that was all about. The porter doesn't know; the MYSTERIOUS STRANGER just came up and asked about him. Raskolnikov runs after the MYSTERIOUS STRANGER, and when he catches him, the little man just says, "Murderer!" and walks off. Raskolnikov is so shaken he goes back up to his room and just lies on the couch for awhile. At one point, Razumihin comes to check on him, but he pretends to be asleep.
There's a lot of semi-delirious internal monologue and some dreams which are pretty par for the course by now. When Raskolnikov wakes up, he finds the MYSTERIOUS STRANGER in the room with him. He introduces himself pleasantly as Arkady Ivanovich Svidrigailov.
End part 3.
Raskolnikov Like-O-Meter: Like a 7. I actually find it kind of hard not to like him, even if he is trying to get away with murder. He's witty when he's being a jerk and he's kind of adorably underdog-ish when he's being neurotic and inept.
Razumihin Like-O-Meter: 93 million
This is one of my favorite chapters, so I'll relate it in pretty close detail.
Raskolnikov continues laughing and joking at Razumihin's expense as he walks into Porfiry's study. Razumihin bumbles bearishly and upsets a teacup. As desired, Porfiry seems charmed by their innocent, youthful exuberance. Raskolnikov will quickly lose this elaborately-constructed upper hand.
First off, Raskolnikov is confused and annoyed at the unexpected presence of Zametov, the polceman who he mouthed off so indiscriminately to last night. He's convinced Porfiry and Zametov were talking about him. Also, Porfiry has white eyelashes, which Dostoevsky, for one, seems to find very unnerving. At Razumihin's embarrassingly supportive urging, Raskolnikov explains his feigned position: that he had some objects of sentimental value with the pawnbroker, and he'd like to claim them, but he hasn't got the money right now. Raskolnikov rather effectively plays up the worried-about-money, confused-member-of-the-public angle; when Porfiry instructs him to write a letter to the police stating his position, Raskolnikov interrupts, "On an ordinary sheet of paper?" "Oh, most ordinary," says Porfiry, and winks. "He knows!" Raskolnikov immediately thinks. Raskolnikov, you are not good at this.
Raskolnikov's cool, such as he had any, only diminishes further. He sends Razimihin what is undoubtedly a very obvious black look when Razumihin recalls that Raskolnikov was so upset at the news of the pawnbroker's murder. Recovering a little, Raskolnikov spins off a speech about how worried his mother would be if she knew he'd lost his father's things, ending with, "You know what women are!" and thinking to himself, "Did I overdo it? Why did I say that about women?" It's both agonizing and entertaining that he overthinks so much. Raskolnikov, you are no good at this.
Porfiry assures him his things would not have been lost; in fact, Raskolnikov's visit has been expected for some time. The pawnbroker wrote down the name and date of all her pledges, and Raskolnikov is the only one who hasn't yet claimed his. Raskolnikov rightly feels like an idiot for not having thought of this, and he babbles a little. Razumihin jumps in, explaining how Raskolnikov was so sick, and that's why he couldn't come. Raskolnikov gets a little unreasonably angry at hearing his illness described; he's defiant when he announces he walked out because he was so sick of being coddled. His irritation seems real, but I'm not sure if letting it show is calculated or not. It seems fairly effective, as it's in even hypothetical non-criminal Raskolnikov's character to be annoyed at having Razumihin broadcast his private business.
Raskolnikov points out that he spoke with Zametov last night during the period in question, and he asks, "Mr. Zametov, was I sensible or delirious yesterday? Settle our dispute." Again, it's not specifically explained whether this is a calculated move on Raskolnikov's part, but it's a reasonable one, actually; there's subtle social pressure to side with Razumihin, and worst case scenario, Raskolnikov will know what Zametov thinks. Zametov thinks a moment and then says, "In my opinion you spoke sensibly and even artfully, but you were extremely irritable." So... worst-case scenario, then. Porfiry adds that he heard Raskolnikov was hanging out with the family of the guy who was run over, and Razumihin adds that Raskolnikov must have been mad then to give away so much money. Raskolnikov says "Maybe I found a treasure and you know nothing about it!" UGH RASKOLNIKOV YOU ARE NOT GOOD AT THIS.
Raskolnikov asks if they are boring Porfiry, and he says "If only you knew how you interest me" (eep) and goes for some tea. Drink! Tea! Raskolnikov has a full page of neurotic silent freaking out. When Porfiry returns, he compliments Razumihin on his party, and Razumihin explains to Raskolnikov that everyone got into a big argument about whether or not there is such a thing as crime. Oh, yay! Theory! (I'm not being sarcastic!)
Razumihin tells Raskolnikov he wishes he'd had him there to help defend his position. He was disagreeing with the socialist view that there is no cause to crime other than a "protest against the abnormality of the social organization." Porfiry laughs that he is oversimplifying. Razumihin insists that he's got it right, he's seen their pamphlets, and gives a stirring page-long speech insisting that the mathematical ideal of the socialist order is unrealistic and fails to account for the complexity of nature and the human animal. It's all full of words like "life" and "soul" in italics. It's pretty great.
Porfiry laughs at him and asks Raskolnikov, "Can you imagine six people holding forth like that last night, in one room, with punch as a preliminary?" Razumihin tries to argue a little more, getting annoyed when Porfiry deflects his earnestness. He tells Raskolnikov that Porfiry likes to take a side he doesn't believe just for the hell of it, and argues so well that everyone believes him.
Porfiry says all this reminds him of an article he read of Raskolnikov's called "On Crime." RASKOLNIKOV, WHAT THE HELL? YOU DID NOT TELL ME YOU HAD WRITTEN AN ARTICLE CALLED "ON CRIME." YOU ASS. YOU ARE TERRIBLE AT THIS.
In Raskolnikov's defense, the article was only signed with an initial (Porfiry learned the real author from the editor, a friend of his), and he hadn't even realized the article had been published, especially not so recently. He submitted it to a journal that had since closed down, but it was bought out and the new publisher printed the article just two months ago. Porfiry finds it amusing that Raskolnikov didn't even know about this. "Bravo, Rodya!" said Razumihin. He promises to run out and find the article and read it right away. What a nice friend.
So what was in the article? "I analyzed, if I remember, the psychology of the criminal before and after the crime." "Yes, and you maintained that the perpetration of a crime is always accompanied by illness." Well, that's just fabulous. That was great of you, Raskolnikov. Way to make a discovery about the nature of crime that is untrue and yet still incriminates you. Porfiry adds that there is a suggestion, not very developed, but just sort of thrown in at the end of the article, that certain people, by virtue of being extraordinary, have the right to commit crimes. Razumihin is alarmed and thinks that can't be right. Raskolnikov smiles, and although he can clearly see the trap, he decides to take the bait and explain his idea, I guess because he figures it will look more suspicious to deny it, and probably because he legitimately enjoys discussing the topic with someone who cares. Even if it is a police-inspector trying to trap him.
So, Raskolnikov's theory is basically that extraordinary individuals can commit crimes if the success of their great benefit to humanity requires it. People who bring new legal systems and governments, for example, are always by definition criminals, at least under the old system. Great generals and dictators are always murderers, within the bounds of war. A great scientist could morally dispense with the lives of his test subjects if it was necessary to advance human knowledge. That kind of thing.
Porfiry listens attentively and questions him rather playfully. He wonders, isn't there a danger of ordinary people mistaking themselves for extraordinary? Maybe the extraordinary people could wear a special uniform or something. Raskolnikov answers with just as friendly a tone, congratulating for his witty remarks, and explains that ordinary people who attempt to commit crimes would of course (being ordinary) be caught and dealt with in the normal way, through the criminal justice system. I guess by definition extraordinary people are successful.
Razumihin thinks they must both be joking. "There must be some mistake. You can't think that. I shall read it." Raskolnikov reminds him that all that isn't really spelled out in the article. Razumihin thinks even geniuses should suffer, at least from conscience, for the blood they've shed. Raskolnikov agrees that they probably do. "The really great men must. I think, have great sadness on earth." Significant pause.
Porfiry has just one last question. Didn't Raskolnikov, at least a little bit, imagine himself a genius while he was writing the article? Could he, just to pull an example out of a hat, oh, say, maybe, rob and murder? "If I did, I certainly shouldn't tell you," says Raskolnikov. Oh you cheeky thing. Probably a good answer though. Raskolnikov and Razumihin turn to leave.
Just, just ONE last thing. Porfiry = Columbo. Porfiry asks Raskolnikov to come by the station to talk about the pledges the next day at 11. Oh, and did he see any workmen when he was in the pawnbroker's house? Raskolnikov pretends to search his memory and says that he saw people moving sofas. No painters? Razumihin reminds Porfiry that the painters were there the day of the murder, and Raskolnikov made his pledges several days before. Porfiry apologizes for his mistake. "You should be more careful," says Razumihin, angry. I want to hug him all the time.
See, wasn't that chapter good? In my opinion, this is exactly what we paid our admission for, in this book: nerve-wracking crime-hiding suspense; lengthy theoretical discussions of the nature of crime; a murderer alternately ingeniously covering his tracks, internally freaking out, and practically begging to be caught; a fantastically relaxed chief-inspector toying with him so effectively that even the reader isn't sure if he actually knows anything; a loving and mostly-unsuspecting friend who disapproves of all this (please let it be) abstract talk. What a great book.
3.6
Raskolnikov and Razumihin head out to meet back up with Raskolnikov's family.
Razumihin kept stopping on the way in the heat of discussion, confused and excited by the very fact that they were for the first time speaking openly about it.Hee hee. Razumihin can't believe Raskolnikov is really under suspicion; "If they had that brainless idea, they would do their utmost to hide it, and conceal their cards, so as to catch you later. But it was all impudent and careless." Raskolnikov says it must be because they have no real facts, and they were trying to lure him into giving them something to go on. Or "perhaps he wanted to frighten me by pretending to know. They have a psychology of their own, brother." Razumihin has called Raskolnikov "brother" dozens of times, but I think this is the first time I've seen Raskolnikov return the endearment. And it's when he's lying and using him. What a sweet friendship.
Raskolnikov and Razumihin discuss what Raskolnikov would and would not have said if he had vs had not been the murderer. Razumihin clearly hasn't thought through any of it and Raskolnikov clearly has, but then, he's the big expert on crime. Raskolnikov freaks out for no reason as they get close to the house, and insists on going off on his own for a quick errand while Razumihin gives his excuses to the fam. Razumihin tries to go with him, with Raskolnikov gets all despairing and sick-irrational, and Razumihin leaves him alone. Oh Raskolnikov, don't start acting suspicious NOW, after that conversation. What can you possibly have to do that's so important?
He runs home and double-checks the hole in the wall where he originally hid the money, just to make sure he didn't leave anything behind. THAT was what you had to do? But he knows they've had time to search it, so even if he did leave something behind, it's gone now. Also, he DIDN'T. THAT IS NOT THE MISTAKE YOU WILL MAKE. THIS KIND OF THING IS.
As he's walking out, the porter points him out to a short, middle-aged MYSTERIOUS STRANGER. The MYSTERIOUS STRANGER walks off, and Raskolnikov asks what that was all about. The porter doesn't know; the MYSTERIOUS STRANGER just came up and asked about him. Raskolnikov runs after the MYSTERIOUS STRANGER, and when he catches him, the little man just says, "Murderer!" and walks off. Raskolnikov is so shaken he goes back up to his room and just lies on the couch for awhile. At one point, Razumihin comes to check on him, but he pretends to be asleep.
There's a lot of semi-delirious internal monologue and some dreams which are pretty par for the course by now. When Raskolnikov wakes up, he finds the MYSTERIOUS STRANGER in the room with him. He introduces himself pleasantly as Arkady Ivanovich Svidrigailov.
End part 3.
Raskolnikov Like-O-Meter: Like a 7. I actually find it kind of hard not to like him, even if he is trying to get away with murder. He's witty when he's being a jerk and he's kind of adorably underdog-ish when he's being neurotic and inept.
Razumihin Like-O-Meter: 93 million
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